BOOST IN THE SHELL 22 MAY – 31 JULY 2005

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Sarah Baker RUIMTE 10 A portrait of Bill May (BILL MAY IS THE BEST) 2004 | Video – DVD | 7 minutes – projection & rap music One photograph & nose-clip of Bill May A portrait of Bill May 2004 Video/DVD 7 minutes A Portrait of Bill May 2004 Lambda on Aluminium 125x140cm The noseclip + Plinthe 120 x 30 x 30 cm & plexi box In the late 80’s the artist Sarah Baker and Bill May competed as synchronized swimmers nationally which led to mutual respect and friendship. By 1999, Bill May was the United States National Champion in all synchronsized swimming events and still holds this position today. However, men are currently excluded from competing in Olympic synchronized swimming events. The world may never know if Bill May could achieve his ultimate goal of an Olympic gold medal. Inspied by his poignant story and struggle for recognition, in this portrait Sarah Baker evokes Bill May’s tale. Courtesy of the Artist, London

Gilles Barbier Le pied tendre 1995 | mannequin, tar, feathers, railway rail & oil cans | 175 x 450 x 75 cm Courtesy Galerie G-Philippe & Nathalie Vallois, Paris Sans Titre (dans le noir) 2004 | installation Wood, carpet, paint, plastic, electric motor 280 x 370 x 340 cm Courtesy Galerie G-Philippe & Nathalie Vallois, Paris communiqué Gilles Barbier 2003 communiqué Gilles Barbier 2005

Valérie Belin Série "Michael Jackson" Sans titre | 2003 | Photographie noir & blanc | 161 x 125 cm Courtesy Galerie Xippas, Paris

Jemima Brown Sculptures

Daniele Buetti GoodFellows 1996 | c-prints – framed 120 x 180 cm each Courtesy Aeroplastics contemporary, Brussels

Jake & Dinos Chapman Unholy Mc Trinity 2 2003 | Installation, bronze, wood | 180 x 210 x 60 cm Courtesy of the Olbricht Collection, Germany

Chen Chieh-Jen

Liz Cohen HALLWAY RUIMTE 8 Bikini carwash 2004 | Performance on Video | Dvd 4 minutes On a small monitor or projected

Jeanne Dunning RUIMTE 8 Getting Dressed 2002 | Video (monitor)

Petroc Dragon Sesti A Memory of Matter 2005 | 2 life-size wax sculptures on plinthes – plexi case on top life-size Courtesy of the artist, London

Joy Garnett Concorde 66 x 76 cm | Oil on canvas

Margi Geerlinks C-prints diasec/dibond 170 x 73 cm & 100 x 73 cm Courtesy Torch gallery, Amsterdam

Anthony Goicolea Act of Contrition 2003 | video projection Undertow 2003 | video projection Courtesy of Torch gallery, Amsterdam

John Isaacs LET THE GOLDEN AGE BEGIN (REVERIE) (detail) Wax plaster, stell, electrical appliance, water, beer, glass, rubber, ceramic, colthes, hair... etc.. 2005 | 200 cm long x 60 cm wide x 250 cm high

Justine Kurland Eel swamp C-print Battlefield 2001 | satin laminated c-print | 76 x 102 cm Photo: Mitchell-Ines & Nash, New York Courtesy Rodolphe Janssen gallery, Brussels

Zoe Leonard Framed BW print Courtesy of 20.21 Galerie Edition Kunsthandel GmbH, Essen (D)

Lawrence Malstaf

Dominic McGill Dead End World in Favor of the Domesticated Poodle 2003 Mixed Media. 111” x 48” x 20” or 2820mm x 1220mm x 510mm The fight to the death between the Wolf, at one end of the evolutionary scale ,and the domesticated poodle, at the other . The wolf is caught in a hunters trap the poodle wears a diamante leash, strewn on the snow covered ground; a Poodle’s silk lined coat and that of a Wolf . The March of Progress and the Death of Humanism; the more we consider ourselves to have developed the more humanity we have forfeit .There is no going back revolution In Post Industrial society is futile; innate class and cultural identity is forfeit ; The poodle can put on the wolf’s coat and the Wolf ,the poodles clothes. According to Jaques Ellul, the more restrictive our social mechanism the more exaggerated are the associated ecstatic phenomena "Technique encourages and enables the individual to express his ecstatic reactions in a way never before possible. He can express criticism of his culture, and even loathing. He is permitted to propose the maddest solutions. The great law here is that all things are necessary to make a society and even revolt is necessary to make a technical society ……Technique defuses the revolt of the few and thus appeases the need of the millions for revolt." Marcuse has a phrase for it: "repressive de-sublimation," which is the "release of sexuality in modes and forms which reduce and weaken erotic energy." Erotic energy being the source of real rebellion as opposed to Burlesque . 1984 vs Brave New World or Communism vs Capitalism ,In the Western World the question is irrelevant Post Industrial society is absolute we are blindly amusing ourselves to death. version 2 Dead end world in favour of the domesticated poodle, presents a leashed Poodle and a snared Wolf in a fight to the death. The struggle between the savage and the civilized world, the 2 animals morph out of silk lined fur coats ,their identity easily altered. The poodle was the most popular dog through the darkest periods of the Cold War, MORE TEXT

Ryan McNamara RUIMTE 1 HELP Tirage couleur 100 x 100 cm Scream Queens 2005 | Video | DVDR | 7 minutes Courtesy of Aeroplastics contemporary, Brussels

Alex McQuilkin RUIMTE 7 Test Run 2005 | Video The video "Test Run" explores a romantic fantasy of suicide.. The character is filming herself in the attempt of drowning in a bath tub. On one level it exposes the appeal of suicide as a "time out", escape and relief. On another level it reveals the superficial appeal of suicide as a cinematic fantasy instilled in us through the illustrations of the tragic hero taking her/his own life onscreen. Courtesy of Marvelli gallery, NY, USA

Philippe Meste Sexe Moderne 2 1996 | sculpture resin, fiber glass + Iris print Courtesy of Aeroplastics contemporary, Brussels

Bruce Nauman RUIMTE 9 1967, 4:36 min, color, sound, 16 mm film A play on "thigh" and "sighing." Nauman in this film shows a close-up of his thigh, with his hand variously pinching, pushing, and manipulating skin and flesh, as the soundtrack presents his breathing. Please note: this work must be projected. Courtesy of E.A.I, NY, USA Please contact the gallery for more information

David Nicholson Recovery 2003 | oil on canvas | 240 x 275 cm Courtesy of The Olbricht collection, Essen

Yoshua Okon RUIMTE 6 X 2 + ? Poli I 1999 Video still Courtesy of the artist. Poli IV 1999 Video still Courtesy of the artist.

Ronald Ophuis Voetballers I 1995 | 260 x 320 cm Untitled oil on paper 1999 | 200 x 120 cm Courtesy of De Praktyk gallery, Amsterdam & Aeroplastics contemporary, Brussels

Martin Parr C-prints | various formats Courtesy of 20.21 Galerie Edition Kunsthandel GmbH, Essen (D)

Leopold Rabus Scène sainte 2005 | Oil & nail polish on canvas | 180 x 190 cm

Daniel Roth

Cheri Samba

Andres Serrano The Church (St. Clotilde V, Paris) 1991 Cibachrome, silicone, plexi-glass, wood frame 150 x 124 cm Edition of 4 Colt D.A. 45 1992 Cibachrome, silicone, plexi-glass, wood frame 124 x 150 cm Edition of 3 The Morgue (Pneumonia Due To Drowning II) 1992 Cibachrome, silcone, plexi-glass, wood frame 124 x 150 cm Edition of 3 Budapest (the Model) 1994 Cibachrome, silicone, plexi-glass, wood frame Edition 5/7 101 x 81 auf 115, 5 x 95 cm Piss Thinker 1988 Cibachrome Edition 3/10 signiert, nummeriert und datiert auf der Rückseite 101,6 x 69,8 cm Klanswoman [Grand Kaliff] 1990

Gregor Schneider Sculpture Collection Eric Decelle, Brussels

Stephen J Shanabrook Stephen j Shanabrook's undertakings are an evisceration of pain, a search for a different facet of beauty therein. Vaguely abstracted narratives based upon the experience of reality, his inveterate and mysterious works are intensely evocative, sometimes disquieting, yet ultimately exude a peaceful sensibility. The celebrated Morgue Chocolate editions are made from impressions collected at morgues in Russia and America. These wounds structured superfluous in chocolate are temporarily removed for the living to process again through a hint of digestion. These chocolates are not meant to acquaint us with death per say, but to nourish life in the sense of our connection to. The Moth Collection uses a common entomology setting, to lay bare the hubris of narcotic use. Using the shade of night the moth and the addict share their obsession of getting closer to the light, that light which can on occasion eradicate. The L.O.V.E as a List of Vicarious Edges –these bandages are not healing the wounds, but instead conceal the source of pain i.e. the weapons (blades, needles, shards of glass etc.). This collection of bandages and blades makes a flag that reveals a territory of hidden pain.

Jim Shaw Sculpture Collection Eric Decelle, Brussels

Cindy Sherman Untitled #355 C-print | 2000 91,5 x 61 cm Courtesy of the Olbricht Collection, Germany Untitled #362 C-print | 2000 68,6 x 54,7 cm Courtesy of the Olbricht Collection, Germany Please contact the gallery for more information

Laurie Simmons Untitled (Band) 1994 Cibachrome Photograph Edition of 10 60 x 49 cm Room Underneath (Red) 1998 Farbfotografie, gerahmt 3/5 101,6 x 127 cm

Kerry Skarbakka C-prints | 150 x 125 cm each Courtesy FIFTY-ONE gallery, Antwerp

Larry Sultan Color prints | 2 sizes West Valley Studio #13 2003 | Color print Courtesy Galerie Thomas Zander, Cologne Havenhurst Drive 1999 | C-print 100 x 127 cm Courtesy Galerie Thomas Zander, Cologne

Milica Tomic (LARGE) RUIMTE 13 XY Ungelöst

Del LaGrace Volcano

Inez van Lamsweerde Lick 1990 | Cibachrome print | 50 x 50 cm Private collection, Brussels

Bill Viola (LARGE) RUIMTE 8 Reverse Television -- Portraits of Viewers (Compilation Tape) 1984, 15 min, color, sound Viola inverts the position and gaze of the television viewer in a series of forty-four portraits of individuals sitting at home in their living rooms, staring silently at the static camera as though it were a TV set. Produced specifically for broadcast television, the original one-minute segments of over forty subjects from the Boston area were intended as unannounced inserts during the daily programming schedule. Viola essentially subverts the time and space of broadcast television, as the extended duration of these real-time portraits interrupts the spatial and temporal field of TV scheduling like edits. Writes Viola, "Two classical poses emerge in this work -- the formal photographic portrait and the posture of the private television viewer at home. The work momentarily inverts the classical TV/viewer relationship, and television becomes a medium of reverse portraiture." (Note: This compilation includes fifteen-second excerpts of the original one-minute portraits, presented in the order in which they were recorded.) Production Assistant/Still Photographer: Kira Perov. Supervising Producer: Susan Dowling. Produced in association with the New Television Workshop at WGBH TV, Boston. Please contact the gallery for more information

John Waters Mental 9 chromogenic color prints (13 x18 cm) ed. 4/8 | 1998 frame (L shaped):27 x 152 (+ 27 x 28cm) Pimples 8 chromogenic color prints (13 x 18cm) ed. 3/8 | 1998 frame : 19,5 x 159,5cm

Sophie Whettnall RUIMTE 8 (PLINTHE) Self-portrait from the inside (autoportrait de l’intérieur) 2003 | 1 minute in a loop – DVD-R Courtesy Baronian-Francey

Eric White Metastasize 2005 | acrylic on canvas | 61 x 122 cm Product (Anti-Love Expurgated) 1997 | Acrylic on Canvas | 61 x 30,5 cm Courtesy of Aeroplastics Contemporary, Brussels

Also works by

Nobuyoshi Araki Untitled 2000 | BW print | 80 x 120 cm Courtesy Collection Bruno Moulinasse, Brussels

Stephan Balleux Untitled 2 2005 | painting | 90 x 70 cm Painting painting 2003 | oil on canvas | 195 x 100 cm Courtesy of the Artist, Brussels

Julien Beneyton Elle dort à l'abri 2004 | acrylique sur bois | 140 X 90 cm | signé et daté Courtesy galerie Alain Le Gaillard, Paris

Norbert Briar Untitled 2004-2005 Color prints 28 x 36 cm

Elinor Carucci the kiss mirror reflection mother’s head in sink

Charley Case (small projection on floor 30 x 50 cm with own mini projector) RUIMTE 2

Nezaket Ekici RUIMTE 6 Gypsum Make-up / Spaghetti / Balley Dance [PERFORMANCE] = video monitor Performance im HBK Braunschweig, Frühjahr 2001 Courtesy of the artist, Berlin

Paul Glazier Untitled Zink etching plates 120 x 90 cm | Ed. 3 Courtesy of the artist (Amsterdam)

Robert Gligorov HULK 1997 Color print 110 x 110 cm Various color prints 70 x 50 cm To be chosen from Courtesy of Aeroplastics, Brussels

Greg Gorman Divine Johnny Depp Djimon screaming Black & white prints

Hendrik Kerstens Sunburnt | 2001 | 120 x 90 cm | Color print Courtesy of Artspace Witzenhausen, Amsterdam

Valeriano Lopez RUIMTE 11

John Lucas RUIMTE 7 Iowa versus Iowa State in the city of Iowa City Iowa | 2002 | DVD-R | 4 min 3 seconds | Ed. of 5 Students celebrate before a college football game between interstate rivals Courtesy of the artist, Memphis, USA

Glen Luchford

Loretta Luxx Selection of 3-5 small color prints Please contact the gallery for more information

Marcel Marien Les plains-pieds ou les couleurs du froid 1971 | Collage Please contact the gallery for more information

Mario A Black & white prints (dyptych) -> pinkish illustration not to be considered 100 x 120 + 100 x 120 | #22 Courtesy Artspace Witzenhausen, Amsterdam

Sebastian Muniz

Shirin Neshat

Miki Nitadori Outward Outward (from series "Infinite Elephant Dreams") 2001 | Colour photograph on Agfa paper / Diasec | 50 x 75 cm | Ed. of 8

Ixone Sadaba Tirages couleurs 80 x 120 cm

Sam Samore

Pépé Smit Les Fleurs du mal Color print 2 sizes

Cédric Tanguy

Alastair Thain Real doll 2002 Duo-tone prints 70 x 50 cm each Views by the photographer of the “Real Doll” factory of San Diego, California Collection of the artist, London

Cornelie Tollens Untitled 1994 | Color print | 50 x 50 cm Collection of the artist The Kiss

Joel-Peter Witkin Catrina Photography | Silver print | 91x79 | 2004 Still Life, Marseilles 76.2 X 101.6 cm | 1992

Virtual Times: Playing True by Arthur Meurant vicious & deviated video games (or PC) RUIMTE 11 OPENS IN A NEW WINDOW A small vicious deviated video games's analysis 1982-2005

SHOW BOX “A TRIBUTE TO JEAN-CLAUDE VAN DAMME” mini flat screens or small monitors